Reception of Quebec literature and Francophone identity

20世纪30年代，魁北克青年作家开始寻找适应新社会的新身份。他们在心理小说中描写了精神冲突。然而，从接受的角度来看，他们的小说只被知识分子阅读。魁北克文学的接受是在20世纪60年代的“宁静革命”时期进行的。这种现象使魁北克人对他们的文学感到自豪，并加强了他们的民族主义。他们重新赢得了被鄙视为“腐败的法语”的本土方言的尊重。这种意识也体现在克里奥尔文学中：只有法国的法语不是正统和正确的，但有许多方言和变种。事实上，在20世纪70年代，魁北克这个人口众多的国家，已经被揭示出不适合民族文学的框架。《大众蓝调》是一部处于转折点的象征性小说。虽然民族主义需要一种同质的同情，但许多魁北克当代作家不希望再基于某种地区认同，而是接受多样性。因此，自20世纪80年代以来使用的“法语国家”一词似乎代表了“杂交种”而不是纯粹性，代表了“多样性”而不是同质性。

In 1930's, the young Quebec writers began to look for a new identity fit for a new society. They described the sprititual conflict in their psychological novels. However, from the standpoint of reception, their novels were read only by the intellectual. It is in 1960's, the period of "Tranquil revolution" that the reception of Quebec literature advanced. This phenomenon made Quebecois proud of their literature and enforced their nationalism. They recaptured the respect of their own dialect despised as "corrupt French". This kind of consciousness is also seen in Creole literature : only the French of France is not orthodox and right but there are many dialects and varieties.In fact, in 1970's, Quebec, where plenty of people come from numbers of coutries, Is already revealed not to be suitable for the frame of national literature. Volkswagen Blues is a symbolic novel at the turning point. While nationalism needs a homogeneous sympathy, many of Quebec contemporary writers do not want any more to be based on some regional identity but to accept the diversity. Thus it seems that the expression "Francophone", used since the 1980's, represents "hybride" rather than pureness, "variety" rather than homogeneity.